Must have for Wong Kar Wai fans! As a sort of 'sequel' to Chungking Express, it definitely holds it's own quirkiness&action-packed fun! Viewers also get to enjoy watching Takeshi Kaneshiro once again. Definitely a Must-Have!
The Daddy of the Kar Wai Canon Fallen Angels could have been so named due to its dropped origin as part of director Wong Kar Wai's previous film Chunking Express, emerging afterwards as a follow up. To hear the critics tell it, `Express' is his masterpiece, regularly making the `best movies ever made' lists along side such exalted company as your Citizens Kane's and Casablanca's. But for me Fallen Angels is, to date, the daddy of the Wong Kar Wai canon.
Fallen Angel tells of a not quite burnt-out hit man, Leon, who begins to tire of the whole `gun for hire' malarkey and decides to quit on account of his burgeoning feelings for the female operative who he has never met, but who plans his jobs for him. The female operative, Michelle, also emotes for our existential assassin but somehow they both realise that if they ever did come face to face the fantasy would evaporate. The unrequited love thing is Kar Wai's forte but here it is more a case of "As long as you don't look at it, it won't disappear." So their love continues on the basis of ensuring that it never really exists. Anxious to avoid an inevitable unprofessional encounter, our navel gazing killer goes off on an adventure into the Kowloon night where he crosses paths with a series of likable reprobates before embarking on that fatal "one last job."
This takes us not so neatly into a `mad as a hatter' subplot about a petty criminal who was rendered mute as a boy by a can of `out of date' pineapples. He goes out at night and gets up to a range of activities such as massaging a dead pig and kidnapping a family and forcing them to eat ice cream. He to falls in love, with a girl who believes she has been beaten to the altar by someone called Blondie. He helps her go in search of the usurper of her affections resulting in a hilarious beating up of a blow up doll!
Cinematographer and Kar Wai regular Christopher Doyle engages a warped and gaudy neon look throughout; something of a trade mark in Kar Wai films. This is the world from inside a Wurlitzer juke box - or, at least, through the eyes of a tranquilised goldfish and this, incidentally, is not a complaint. The other thing I like about this film is that it walks the line between the art house `heart warmers' of the best of European cinema and the `Glock Opera' pyrotechnics of John Woo and Ringo Lam. Genre clash - it's the future. Sundown in the City Wong Kar-Wai is the modern cinema's premier poet of loss and longing. His characteristically enigmatic films capture the erratic rhythms and ephemeral nature of memory and torment: fleeting, fragmented, wandering only to return obsessively to its central foci.
While Wong's debut, "As Tears Go By", was a relatively straightforward commercial riff on Scorsese's "Mean Streets" and the 'heroic bloodshed' style of Hong Kong street opera pioneered by action maestro John Woo, he would establish with "Days of Being Wild" and "Chungking Express" a signature style characterized by visual bravura mixed with interwoven and intensely introspective tales of emotionally isolated young people adrift in the shadow kingdom of urban postmodernity. Eschewing more traditional narrative formats for an ellipitical self-referrentiality that mirrors memory itself, Wong's films are rarely instantly accessible, but reward the patient viewer with intoxicating moods and contemplative brilliance.
"Fallen Angels" was originally conceived as something of a 'nightside' sequal/companion piece to "Chungking Express." Structurally and thematically it mirrors the latter with two seperate plotlines, each centering on a pair of twentysomethings (a hitman and his female 'agent' in one and a strange, mute confidence man and the girl he takes a shine to in the other) in search of love but unable or unwilling to find it in each other. Assorted camera tricks, fish eye lenses, slow motion sequences and the strategic use of a gloriously bittersweet pop soundtrack all help to capture a mood of frantic desperation and the distortions of memory and longing.
Wong also invokes the first of his 'art' films, "Days of Being Wild," returning to its concern with the loss and meaning of identity in an impersonal world. Leon Lai's hitman and Takeshi Kaneshiro's petty criminal both try - and fail - to remake their lives on ths straight and narrow. One of them manages a peace of sorts with his failure - the other goes out out in a bittersweet blaze of glory. Wong also explores the way in which longing (mis)identifies others: his characters view each other through the distorted lens memory and desire - what they see is not reality, but a projection of their own dreams - and when the truth is made manifest, it is always the cruelest blow.
